All views and claims expressed in this article belong solely to the author and have not been independently verified.
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The statement was published on the 25th anniversary of the Festival but requires a repeat for further clarification. I did have an interview many years ago with Ferdina Frampton, which clarified that history.
The role of institutional structures of government is the foundation of any democracy. There is no unilateral personal decision-making by individuals in government establishments. A claim by anyone to enact policy as a state employee must give regard to the institutional framework of due process.
A Minister of State has to get Cabinet authority to implement policy on the decision to expend state funds, and so it was in the initial funding of the World Creole Festival and ever since. The Festival was motivated for the purpose of increasing tourism arrivals, and therefore the Minister of Tourism Norris Prevost—possibly the best one who [has] served in that capacity—was involved in the decision to host the first festival in 1996.
Indeed, the NDC, National Development Corporation, which agency the Creole Festival was birthed [in] had two Ministerial heads: both Minister of Tourism and Minister of Economic Development—Timothy and Prevost.
We have got accustomed to the notion that decisions of Cabinet are given by the stamp of the Prime Minister in command. So it was with the Edison James UWP government, where the laurels of those achievements must rest.
The role of Julius Timothy, a Minister of Finance, remains in the context of his responsibility as a Minister of Finance then. The role of the General Manager, Sheridan Gregoire, who, when the idea was birthed, served as one of the Directors on the NDC board, must be acknowledged. On assuming the office of the GM, he became very actively engaged in promoting the initial vision of the Festival, and Gregoire became the NDC fulcrum of the newly-founded Festival Commission.
Introduction
The 25th anniversary of the World Creole Festival is a milestone and has come to describe Dominica as the Caribbean’s prime cultural and entertainment venue for enjoyment of Creole music culture, which has now defined Dominica.
The vision and the history of the World Creole Festival need to be revisited, as there are several claims being made to claim that legacy.
How did this begin?
From the outset, it must be acknowledged that the birth of that event was authorized under the government of the UWP, which has evolved over the years with deep roots, originating from the interactions of various music genres of our and international artists. The festival is an opportunity to recognize the resilience, creativity, and contributions of our Creole music groups and personalities throughout our recent history.
The Creole Festival fosters a sense of pride and unity among participants. It promotes cultural exchange, strengthens community ties with our diaspora, and raises awareness about the importance of preserving Creole heritage music for future generations.
These points underscore the importance of the World Creole Festival and demonstrate its value. Therefore, obtaining accurate information is essential to understanding the founding vision of the festival and maintaining alignment with its original purpose.
My recollection, which was given some years ago to deceased Ferdina Frampton on a Q95 Radio program, is worth repeating due to the need for authenticity and speaking truth.
Previously, the NDC – National Development Corporation board of the Freedom Party Government, where I served as a director, did not respond to a request from the Hotel Association, where I held the position of Public Relations Officer, which was proposed to the NDC for organizing a festival aimed at increasing visitor arrivals and was the main focus.
Sobers Esprit much later conveyed to me that he believed Charles Savarin, who was then the Manager of the NDC, was present at the initial stage of the proposed festival, which was really a proposal by the Hotel Association. Managers, however, follow the directives given by the board, but [it] was not then supported by the Freedom Party in Government. Music promoter McCarthy Marie, who helped develop the evolution of the Creole Festival, has also confirmed this on various social media occasions.
Later, the new members of the NDC appointed by the incoming UWP government in 1995 approved of the vision to establish the then Cadence Festival, and that should not be buried in the alternative facts proposed by anyone who claims otherwise.
The members of that Board must be remembered and acknowledged, who I recall were a true representation of some of the leading resource personalities in Dominica at that time. I regarded it as a distinct honour to be appointed chairperson of this distinguished group, despite not being a member of the new ruling government regime:
Michael Pascal, MBA, bakery [and other business] entrepreneur.
Louis Gabriel, listed as the owner of Coca-Cola, Dominica.
Elsworth Carter, a trade union rep on the board and erstwhile reporter.
Sheridan Gregoire, a business leader and entrepreneur.
Isaac Baptiste, engineer.
Mrs. Janice Armour, hotelier.
Stanley Georges, Ag. Manager.
A sub-committee was established by the NDC board to develop the initial concept of a festival, as approved, and was led by the Coordinator, Stanley Georges—the AG General Manager in transition after the departure of Savarin due to the incoming opposition party into Government at that time. Sobers Esprit, an official of the NDC, was appointed the secretary of the then Cadence Festival Committee, which included Freddy Nicholas and McCarthy Marie, which later was also called Cadence-Zouk Festival.
This initial committee chose the term “Creole Festival,” a suggestion of McCarthy Marie, over the Cadence Festival for greater inclusivity. Michael Fagan, a later member, I was informed, suggested “World” to the name. Although a former Minister later claimed that credit, the decision was clearly the committee’s responsibility.
It is worth mentioning that, at that time, the Ag. Manager Stanley Georges in transition was succeeded as manager of the NDC by Sheridan Gregoire, who had previously served as a board member and a director on the NDC Board following a recommendation from the board.
While discussions about the festival may have privately involved Minister Timothy and the incoming GM, the vision and decisions were processed by Stanley Georges before Gregoire became GM. Minister Norris Prevost was notably enthusiastic about NDC activities as Minister of Tourism and participated in the equation. However, Minister Timothy, serving as Finance Minister, managed the financial arrangements after the Edison James Cabinet approved of the festival program. No one person had the authority to act outside the NDC board or government unilaterally, but, of course, the incoming Manager Sheridan Gregoire did continue to actively oversee [on behalf of the board] the program of the Festival Commission, which later came into effect after much discussion and seminars for the timing of the festival.
Following decisions of the NDC board, I did, as Chairman, receive a letter from Edward Alexander, the Press Secretary of the then government, which was given to me on behalf of the Prime Minister, Edison James, which was simply a clipping of a statement issued by a former Prime Minister of Grenada that statutory boards should not usurp authority of the Cabinet. A warning to any perceived challenge of protocol.
A development was the NDC Board decided that it was imperative that a Festival Commission be recommended to Government to manage the business of festivals, and it was adopted after engagements of several resource persons led by the General Manager Gregoire, and only then was that job advertised for an Executive Director, of which Eddy Toulon was selected to that position in 1996, a significant period after the Cadence or Creole Festival vision had been approved of by the NDC.
Eddy Toulon led the Festival Commission as Executive Director and played a key role in promoting the Creole Festival in the period prior to his premature death.
Others were involved, including Gordon Henderson, who later became the international coordinator of the festival as an energizer of the music genre which he promoted on behalf of the Festival Commission agenda in the tri-state of New York, France and the French Antilles, and with French RFO Radio as well as WLIB Radio in tri-state New York.
Denis Joseph contributed to the development of the Festival Commission’s vision. Business sponsor Michael Fagan also played a key role in resolving critical issues during meetings, including promotion. Sobers Esprit was an NDC officer promoter and the original secretary, working alongside Calypso Association President Kelly “Ghost” and current Cultural Ambassador Wadix, who began in the first Festival Commission office and became a regional promoter with Eddy Toulon. Gregory Rabess and Dr. Steinberg Henry were early resource persons.
The World Creole Festival is a joyful celebration of diversity, history, and tradition, which may need to get back to the original vision of world creole genre of music and to seek a firmer connection with the Africa, Indian Ocean, as well as South America—French Guyana, Seychelles and Dominica genre, as we are now searching for our ancestral roots, culture and spirit. Hotel occupancy has benefited massively from the festival, which was the motivation for the conception of that vision of that event, as was initially proposed to the NDC.
I am blessed to have been directly involved with the original proposal to the NDC as a Director on the board, of which I later became Chairman, in the creation of a vision for this major cultural explosion which defines Dominica as a Caribbean cultural and music destination. We need to explore Creole, craft, drum, and cuisine programs, as day extension of the festivals, and to continue to more aggressively attract the million people from Martinique and Guadeloupe who are fifty miles from our shores.
